디지털 아트에서 사진의 활용 - 빌렘 플루서의 기술 이미지를 바탕으로

황민수,이용환 현대사진영상학회 2021 현대사진영상학회논문집 Vol.24 No.3

This study examines the use of photography in digital art based on the philosophy of Vilém Flusser. Photography in digital art has a different appearance from ordinary photography. Therefore new framework of theory is required to see this new images which move pixels by audiences or generating music. Vilém Flusser explained the technical image of modern society. He gave a warning that humans could falling under the control by devices of technical Image. In this situation, he found a little hope in the digital art field. Digital artists resist the automaticity of the device and create new results that the device maker did not expect. Flusser named ‘new Imagination’ for this phenomenon. In addition, they are not independent individuals, but jointly created a art work through communities. Therefore, digital art is an art that is completely different from the previous classical art and presents a new paradigm for a new era which called digital generation.

뉴미디어 씨어터의 미학적 특성 연구 : 빌렘 플루서와 레프 마노비치의 이론적 프레임을 중심으로

조충범,조준희 목원대학교 교양교육혁신연구센터 2025 지식과 교양 Vol.- No.17

본 연구는 인터넷 디지털 기술을 기반으로 등장한 뉴미디어(New Media)와 이를 통해 등장한 뉴미디어 씨어터(New Media Theater)의 미학적 특성을 분석한 것이다. 분석의 틀로 적용한 빌렘 플루서(Vilém Flusser)와 레프 마노비치(Lev Manovich)의 미디어 이론은 기존의 연극미학으로 해석하기 어려운 디지털 기술에 대한 이해를 돕는다. 연극의 표현 방식과 관객 경험에 근본적인 변화를 초래한 디지털 기술과 뉴미디어 환경의 발전은 기존의 텍스트 중심 연극에서 벗어나 다매체적이고 상호작용적인 공연 형식을 통해 외연을 확장시키고 있다. 연구의 주요 내용은 다음과 같다. 먼저, 뉴미디어 아트와 연극의 관계를 살펴보고, 뉴미디어 씨어터의 개념을 정의한다. 이후 플루서의 커뮤니케이션과 코드 이론을 통해 기술과 문화에 따른 인간 소통 방식에 대해 고찰하고, 기술이미지 환경에서의 달라진 소통의 변화를 분석한다. 또한 마노비치가 제시한 뉴미디어의 5가지 원리(수적 재현, 모듈성, 자동화, 가변성, 부호 변환)를 바탕으로 뉴미디어 씨어터의 서사 구조와 무대 연출의 특성을 탐색하고 소프트웨어와 자동화를 적용한 연극 창작 방식을 분석한다. 이를 통해 뉴미디어 씨어터의 미학적 특성을 1) 기술이미지로 인한 연극적 커뮤니케이션의 확장, 2) 모듈성과 가변성을 통한 서사의 변환, 3) 프로그래밍된 무대와 자동화라는 세 가지 범주로 도출한다. 본 연구는 뉴미디어 씨어터가 전통적 연극의 본질적 요소인 배우, 공간, 관객의 상호작용의 확장과 변화를 조명하며, 디지털 기술과 연극의 융합이 가져오는 새로운 미학적 가능성을 제시한다. 이를 통해 향후 뉴미디어 기반 공연 연구 및 창작의 이론적 토대를 마련하는 데 기여하고자 한다. This study analyses the aesthetic characteristics of New Media and New Media Theatre that have emerged based on digital technologies of the Internet. The media theories of Vilém Flusser and Lev Manovich, applied as a framework for analysis, help us to understand digital technologies that are difficult to interpret through traditional theatre aesthetics. Developments in digital technologies and new media environments have fundamentally changed the way theatre is presented and the audience experience, pushing theatre away from its traditional textual focus and expanding its outreach through multimedia and interactive performance forms. The main findings of the study are as follows. First, the relationship between new media art and theatre is explored, and the concept of new media theatre is defined. Then, through Flusser’s theory of communication and code, we examine how human communication changes with technology and culture, and analyse the changes in communication in a technological image environment. Based on Manovich’s five principles of new media (numerical reproduction, modularity, automation, variability, and sign transformation), we explore the narrative structure and stage production characteristics of new media theatre, and analyse how software and automation are applied to create theatre. Through this, the aesthetic characteristics of new media theatre are derived into three categories: 1) the expansion of theatrical communication through technological images, 2) narrative transformation through modularity and variability, and 3) programmed staging and automation. This study highlights how new media theatre expands and transforms the interaction of actors, space, and audience, which are the essential elements of traditional theatre, and suggests new aesthetic possibilities brought about by the convergence of digital technology and theatre. In doing so, it aims to contribute to laying the theoretical foundations for future research and creation of new media-based performances.

빌렘 플루서의 ‘無 의미’를 통해 본 디지털사진의 푼크툼 연구

오철민 현대사진영상학회 2022 현대사진영상학회논문집 Vol.25 No.2

Flusser regards human history as the historical change in codes of images, texts, and technical images. He says, “decoding the meanings of technical image is jumping into the empty universe and will never been decipherable.” This study is intended to find the clues that he left in hope of their being decoded and consider how the meaning of empty universe is decoded through photography, the first technical image. First, photography is a device based on gaps. The nature of thinking in text that has a desire for “personal narrative” is inherent in technical image. Taking Wolfgang Iser, an aesthetician of reception, as an example, it can be said that a work is reified by filling up the gaps and indeterminate elements through “personal narrative” of the recipient. Second, the symbol used for classifying the history of codes by Flusser is divided into ‘a sign agreed upon’ and ‘a sign to be agreed upon’ according to the consideration on Peirce, a semiotician. Decoding ‘a sign agreed upon’ is available through unilateral acceptance while decoding ‘a sign to be agreed upon’ is available through “metonymy by recipients.” Third, following the texts by Flusser, the character of empty universe is defined as “to have infinite potential, possibility and inevitability, no unchanging truth or objective meaning.” Here Flusser himself says: “The value of truth in photography is meaningless. Probability calculation and indeterminacy are dominant.” Based on Flusser’s theory, classical photography and digital one have the same position in ontology. It was observed that their principles and processes of decoding are identical, and therefore, digital photography also owns studium and punctum. Conclusionally, it can be seen that decoding technical image, especially photography, derives from the recipient-oriented interpretation and the recognition of potentials of its infinite meaning.

플루서의 ‘장치’ 개념과 현대 예술 사진

청지아홍,박성연 한국기초조형학회 2024 기초조형학연구 Vol.25 No.6

This study aims to analyze the interaction between technological apparatus and human creativity in contemporary art photography based on Vilém Flusser’s apparatus theory. Flusser argues that technical images transcend visual representation to create new meanings through human creative intervention. The research method involves case studies that describe the characteristics of analog and digital media and examine the harmony between technological mediation and human creativity. To this end, cases linking early photographic experiments with modern digital photography are selected. First, it investigates how the combination of photographic automation and human intervention produces visual distortion and surrealistic expressions. Works by André Kertész and Lucas Samaras are analyzed to demonstrate how automated apparatus expand artistic expression while transforming and reconstructing human subjectivity. Second, it examines the impact of digital media's programmability on active audience interpretation and the formation of new visual languages. Through the works of Jon Rafman and Yang Yuanyuan, it explores how audience interpretation completes the meaning of the artwork and how automated perspectives of technological devices reconstruct reality. The findings confirm that Flusser’s apparatus theory identifies technical devices as critical tools that, while constraining human creativity, also offer new artistic possibilities. Particularly, the combination of technology and human creativity, along with active audience participation, broadens the scope of expression and interpretation in contemporary art photography. This study highlights the significance of photography as a medium of philosophical practice beyond documentation, emphasizing the interplay between technology and humanity in exploring new possibilities in contemporary art photography.

빌렘 플루서(Vilém Flusser)의 이론을 통해 본 가상현실 영화의 특성

정인선(In-Seon Jeong) 경희대학교 K-컬처·스토리콘텐츠연구소 2024 스토리콘텐츠 Vol.- No.4

본 연구는 오늘날 등장한 가상현실 영화와 19세기 말에 등장한 뤼미에르 형제 영화와의 비교를 통해 두 가지 유사성을 발견하였다. 첫 번째는 영화문법 부재로 인한 ‘정보 과잉’이다. 이는 영화를 제작하는 사람들의 입장에서 새로운 매체를 관객들에게 잘 이해시키려는 과정에서 발생한다. 두 번째는 새로움에 대한 ‘정보 과잉’이다. 이는 새로운 매체를 통해 관객이 얻을 수 있는 만족감 때문에 발생한다. 본 연구는 이러한 초창기 영화와 가상현실 영화의 두 가지 유사성을 이해하기 위해 플루서의 커뮤니케이션 이론을 도입했다. 플루서는 담론적 매체와 대화적 매체를 나눌 수 있다고 설명했는데, 이 둘의 차이점은 매체의 특성도 중요하게 작용하지만 동시에 매체를 어떻게 사용하는가 혹은 송신자가 어떻게 매체를 구성하는가에 달려 있다는 사실을 확인했다. 결국 가상현실 영화는 존재론적 특성으로 상호작용성이라는 대화적 매체의 특성에 가까운 특성이 있고, 동시에 이야기 전달이라는 극장기반 영화의 특성 때문에 담론적 매체의 특성도 동시에 가지고 있다는 사실을 확인했다. 현재 새로운 영화의 한 형태인 가상현실 영화는 앞서 살펴본 특성 때문에 담론적 매체와 유사하게 작동했다. 이런 현상을 극복하기 위하고 가상현실 영화만의 문법을 만들기 위해서는 가상현실의 두 가지 특성(담론적, 대화적) 중 하나를 강조하기보다는 이 두 능력을 잘 조합할 필요가 있다. 이와 같은 시도는 초창기 영화와 유사하게 가상현실 영화에서 나타나는 ‘정보 과잉’이라는 현상을 해결하는 방법이 될 수 있을 것이다. This paper study on the commonalities between today's virtual reality films and the Lumière brothers' films from the late 19th century. This study found two similarities. The first is ‘information overload’ due to the absence of film grammar. This occurs in the process of trying to better understand a new medium to the audience from the perspective of film producers. The second is information overload about novelty. This occurs because of the satisfaction that audiences can gain through new media. Flusser's communication theory was introduced to understand the two similarities between these early films and virtual reality films. Flusser explained that discursive media and conversational media can be divided, and confirmed that the difference between the two depends on the characteristics of the medium, but also on how the medium is used or how the sender constructs the medium. In the end, it was confirmed that virtual reality movies have characteristics that are close to the characteristics of a conversational medium, such as interactivity, as an ontological characteristic, and at the same time, they also have the characteristics of a discursive medium due to the characteristics of theater-based films that tell stories. Virtual reality cinema, currently a new form of film, were similar to discursive media due to the characteristics discussed above. In order to overcome this phenomenon and create a grammar unique to virtual reality films, it is necessary to combine these two capabilities rather than emphasizing one of the two characteristics of virtual reality (discursive and conversational). In addition, early films and similarly, it would be a way to solve the phenomenon called ‘information overload’ that appears in virtual reality cinema.

차원의 압축과 정보기술의 점-세계 - 인공지능으로 생성한 기표의 인식 문제를 중심으로

윤나라 한국기호학회 2025 기호학연구 Vol.80 No.-

Generative AI has already established itself as an irreversible historical trend and a tangible environmental reality. The diverse forms, massive volumes, and heterogeneous characteristics of AI-generated signs have penetrated deeply into everyday life to the point of overflow, circulating indistinguishably from human-created signs, and sometimes in ways that make distinction entirely impossible. Under these circumstances, this study premises that for more timely and productive discourse, identifying the essential characteristics of these signs is a more urgent task than determining who or what the authorial agents of such signs might be. Accordingly, this study is structured as follows. First, the initial section examines the transformative and developmental processes that signs have undergone to reach today’s information technology era from a macroscopic and diachronic perspective, centered on Vilém Flusser’s concept of dimensionality. Second, the middle section analyzes the visual characteristics of photographic imagery based on Computer Graphics (CG) and Computer Generated Imagery (CGI) by employing both the concept of dimensionality and Michel Foucault’s concept of similitude-resemblance. Through this analysis, the study seeks to demonstrate that while information technology-based visual signs may appear superficially similar to non-information technological signs, they are fundamentally generated through entirely different processes. Third, the latter section analyzes the latent space that constitutes the foundation of the Latent Diffusion Model (LDM)—one of the core principles of contemporary content-generating AI—from the perspective of “dimensional compression.” Based on this analysis, the study identifies the limitations revealed by traditional sign aesthetics centered on expression-representation in analyzing AI-generated visual signs, and presents the necessity for cognitive transformation and new methodological approaches to overcome these limitations.

포스트휴머니즘으로 바라본 디지털 무용과 몸

나수진 한양대학교 우리춤연구소 2024 예술과 과학기술 (Journal of Art and Technology) Vol.20 No.3

본 연구는 디지털 무용을 인간과 기술의 관점에서 접근하여 무용하는 몸과 이미지의 관계를 규명하고, 디지털 무용 속 몸과 비판적 포스트휴머니즘의 관계를 밝히는 데그 목적이 있다. 디지털 영상, 이미지, 사운드와 같은 디지털 기술이 무용과 접목하면서 디지털 무용은 기존의 무용과 확연한 차이를 나타내고 있다. 특히 디지털 이미지는의미 표현의 보조적 요소를 넘어 점차 중심적 요소로 확장되고 있으며, 무용수의 몸과함께 의미 표현의 한계를 극복하는 요인으로 작용하고 있다. 심지어 기술적 조작을 바탕으로 이미지가 무용하는 몸을 대체하는 상황에까지 이르렀다. 기술의 발전은 인간의 자리를 대체할 수 있다는 경계심을 유발하기도 하고 한편으론 무용예술의 한계를 해결해 줄 것이라는 낙관적 전망을 제시하기도 한다. 이러한 상황에서 플루서의 매체이론과 디지털 인간관인 ‘기획으로서의 인간’ 개념은 이미지와기술에 대한 부정적 혹은 낙관적 견해에 대한 새로운 관점을 제공하며, 새로운 휴머니즘을 지향하고 있다. 본 연구에서는 빌렘 플루서의 매체 이론에서 제시되는 ‘기획으로서의 인간’ 개념을 중심으로 무용하는 몸을 분석하고 인간과 기술의 관점에서 디지털무용에 접근하여 무용하는 몸과 이미지의 관계를 살펴보았다. 이를 통해 ‘디지털 무용’ 은 기술을 통해 무용예술의 한계를 극복하는 조건으로 본다는 점에서 기술 긍정주의이며, ‘기획으로서의 인간’은 무용하는 몸을 탈-신체, 탈-주체, 탈-중심화하면서 끊임없이 새로운 인간 개념을 지향하도록 만들고 있음을 밝혔다. 다만 ‘기획으로서의 인간’ 개념과 이에 상응하는 디지털 무용은 무용이라는 장르가 가진 다양한 가능성 중 기술에 의해 현실화된 하나의 유형일 뿐 그것이 절대적인 답은 아니라는 점을 다시금 확인하였다. This study approaches digital dance from the perspective of humans and technology, aiming to elucidate the relationship between the dancing body and images, and to clarify the relationship between the body in digital dance and critical post-humanism. As digital technologies such as digital video, images, and sound are integrated into dance, digital dance shows a distinct difference from traditional dance. In particular, digital images are expanding beyond being merely supplementary elements of expression to become central elements, acting alongside the dancer’s body to overcome the limitations of expressive meaning. It has even reached a point where, based on technical manipulation, images can replace the dancing body. The advancement of technology evokes both caution that it might replace the role of humans and optimism that it might resolve the limitations of dance art. In this context, Flusser’s media theory and the concept of the “human as a project” in digital humanism offer new perspectives on negative or optimistic views regarding images and technology, aiming towards a new humanism. This study analyzes the dancing body centered on the concept of the ‘human as a project’ proposed in Vilém Flusser’s media theory, and approaches digital dance from the perspective of humans and technology to examine the relationship between the dancing body and images. Through this, it was revealed that ‘digital dance’ is technological positivism in that it views technology as a condition for overcoming the limitations of dance art, and the ‘human as a project’ constantly aims towards new human concepts by de-bodying, de-subjectifying, and decentralizing the dancing body. However, it was reaffirmed that the concept of the ‘human as a project’ and the corresponding digital dance are just one type of realization among the various possibilities that the dance genre possesses through technology, and it is not an absolute answer

디지털시대의 논증 연구 – 시각 논증 분석을 중심으로 –

국세라 한국텍스트언어학회 2018 텍스트언어학 Vol.45 No.-

Die aktuelle Argumentationsforschung widmet sich in den letzten Jahren angesichts der sogenannten visuellen Zeitenwende zunehmend der Funktion von Bildern. Entsprechend versucht die vorliegende Arbeit, einen Überblick über Argumentationsanalysen unter Einbezie hung der visuellen Ebene zu geben. Sie stützt sich vor allem auf die These des Medienphilosophen Vilém Flusser, nach der die moderne Gesellschaft auf dem Weg ist in eine Phase, die mehr von Bildern der technischen Medien als von sprachlichen Texten geprägt sei; medienvermittelte Bilder dürften nicht nur als Oberflächen erfasst, sondern müssten zugleich begrifflich gelesen werden. Visuelle Materialien lassen sich ebenso wie sprachliche Text auf ihre logische Funktion hin analysieren: Sprache und Bilder ergänzen sich in der Argumentation gegenseitig und sind häufig eng aufeinander abgestimmt. Bilder als explizite oder implizite Argumente sind inzwischen sogar nicht selten gewichtiger als der sprachliche Text. Die vorliegende Arbeit versucht deshalb, auf der Grundlage bisheriger Forschungen zur visuellen Argumentation Bilder in Argumentationsz usammenhängen zu analysieren. Eine der zukünftigen Aufgaben im Bereich Argumentationsforschung wird es dann sein, die verschiedenen Verfahren zur Bild-und Textanalyse zu systematisieren und zu integrieren.

성능경의 초기 사진 작업(1975-1976) 연구

정서연,정연심 현대미술사학회 2024 현대미술사연구 Vol.0 No.56

This essay explores Sung Neung Kyung’s early experiments with photography. Although there have been numerous critical studies of the artist, only a few essays have focused on his early works. In order to reevaluate his early works, this essay considers him as an artist in the Space & Time group and examines his conceptual photography. Previous studies have characterized his works from this period primarily as photographic documentation performances; however, this paper categorizes the works from 1975 as tautological, emphasizing the apparatus itself, while those from 1976 are viewed as explorations of photography's ontology, extending beyond mere documentation. The next chapter looks at Sung’s participation in the “ST” group and shows that his early photographic work was fundamentally concerned with the ontology of photography. The last chapter engages with Vilém Flusser's philosophy of photography to frame the theoretical arguments surrounding the photographs. By analyzing his conceptual photography, this essay discusses Sung’s experiments and highlights the potential for understanding the history of modern photography in Korea.

인공지능 기반 이미지 생성 알고리즘과 사진

박평종 ( Pyung-jong Park ) 한국미학예술학회 2021 미학예술학연구 Vol.62 No.-

This article deals with how images produced using artificial intelligence-based algorithms differ from existing photography. A generative adversarial network (GAN) is an algorithm that calculates fake data through balanced learning of generators and discriminators. When using original photos as learning data, it creates images that are visually indistinguishable from photos. There are two issues raised by this. First, the algorithmic image cannot be called a photograph from the point of view of index theory, but it is no different from the existing digital photograph in that it creates a new image by changing the pixel value of the original photograph. Second, the algorithmic image is an advanced form of program automatism and human exclusion, which Vilem Flusser defined as the core of the technical image. Humans are excluded from the production process of the GAN algorithm image. In that sense, the generator of the GAN is a black box. As the automaticity of the program increases, humans do not control image production and become simple consumers. Therefore, it is time for humans to think about how to turn a black box called a program into a “transparent box.”